Intrada Soundtrack Forum

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"Questions are a burden to others; answers a prison for oneself"
"Unlike me, many of you have accepted the situation of your imprisonment and will die here like rotten cabbages."
"Everyone votes for a dictator."
THE PRISONER

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Karl Morton IV

"Enjoy every sandwich."
-- Warren Zevon

I was just curious if we could expect huge titles like Jaws, ET, Jurassic Park, The Lost World, Apollo 13, Waterworld, etc on this line, or if it was limited to premiere releases of older titles that never had a release at all before. That's all.

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"I used to worry about losing my mind. Now that I've lost it I don't worry about it anymore." -Wavy Gravy

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"I used to worry about losing my mind. Now that I've lost it I don't worry about it anymore." -Wavy Gravy

Guys, mostly the conversation here illuminates my post. I don't know if hype is a good thing or a bad thing. People get upset when something is hyped and they feel the hype was unwarranted, others feel betrayed if they didn't have enough build-up. That's a pretty slippery slope for me to walk on.

As to wondering about Universal and whether the vaults are "now" opening, as I said, those vaults have been open to certain labels such as ours for many years. Universal is selective about what they'll license, but this is partly because of their history with labels such as MCA Records and Decca, meaning countless titles have tricky cross-rights and such. But there's no reason to wonder whether Universal is just now opening their vaults because the years and years of releases we and Varese Sarabande and other labels have done with them answers the query.

I love you guys but it's painful sometimes to see questions about what goes on behind the curtains taking center stage and enthusiasm for these countless treasures now available taking a back seat.
--Doug

Great post Doug, and you are absolutely right, of course.

I have been noticing a trend lately... a trend that's been gaining steam slowly every month since 2007 or so when all the boutique labels started releasing goodies from all the major studios on a regular basis. Basically there's lots and lots of discussion about scores that haven't been released or expanded yet, lots of posts of people discussing their grails, etc. Then a huge grail finally comes out (you name it - Goonies, Hook, Star Trek 1-6, Alien, Explorers, etc) and it seems like all discussion stops! The biggest offender of this to me I think was Gremlins - for literally decades, it topped everyone's grail list, then FSM finally releases a perfect release of it - and the discussion seemed to immediately turn to "cool, what's next?". I thought for sure there'd be lots of discussion of the actual release and all the music, but there was way less than I was expecting.

I admit to doing this myself sometimes! I will no longer bug you about any details of the new Universal series, and hope others follow suit. Keep doing what you're doing, working on all these great releases! I'm still so grateful you were able to get Giacchino's Up on a physical CD on my shelf, not to mention all the amazing Williams and Horner releases I thought we'd never get. And the brilliant fixed version of Predator! Keep it up guys!

I know what you mean Doug, but look where it really comes from: a love of the music.

Most of us here on the boards know very little about the business end of things, and what we do know comes from osmosis.

The focus on the forums is not necessarily reflective of what we are enjoying.

We ask about potential deals and future releases, while actively enjoying what is already out.

I'm loving the scores I already have from you and your competitor bretherin and the other boutique labels, even if I say little about them on the forums.

I suspect the same is true of everyone else on here.

I want you to know that, from myself at least, I am grateful for what you put out, love what you put out, and am listening to the scores I have from you.

If we're silent once we get the scores, it's because we're listening to them and enjoying them.

Yep, the Universal thing isn't at all new, I was just so happy to get Tobruk, & in great stereo. The two interesting things for me about these releases (apart from the actual releases!) is: 1/ The RCA albums didn't stop them happening, I don't know if Intrada had to deal with RCA or not, & I'm not really interested, the great thing is it happened. 2/ Yet another 60's soundtrack from the Paramount vaults, not a lot of 60's stuff has been released, & I have to wonder how much there is, so it's always great when another one gets released.

I recognize and appreciate the genuine curiosity people have about all these deals we're making, especially when it comes from people who support what we're doing. I just hope people will stop hunting for exact formulas about these things. Some deals happen quickly, some take years, some involve one licensor, some involve several, some have easy terms, some have tough terms, some get tied up by one single legal snag in old typed paperwork where the snag is clearly just a typo, some fall into mysterious wastelands where independent owners have vanished, you name. There just isn't one formula involved.

We do have a genuine relationship going on with Disney, yes, but even that involves varying terms, depending on whether we're working together on something new and hit-oriented like The Avengers or something as forgotten as One Little Indian.

Our relationship with Universal goes back years. Now we're currently working together on the 100th Anniversary titles. I don't think there's a formula involved other than they apparently like working with us and we like the music they own and when mixed together with money, crossed fingers and mostly patience we sometimes get Charade.

We've worked for a quarter of a century to build relationships with every studio we can locate and we've got hundreds of albums to show for it. For most of the efforts, it's simply been a matter of chasing down projects we want to see happen, finding the owners, locking down CD rights, paying the monies due and then running off to make albums. Some happen here, some come out on other labels, some get tied up in rights issues, others are just lost from the get-go. Again, the formulas really just amount to mixing my trusty ingredients of money, crossed fingers and patience.

I guess the easiest way to express how we mostly operate is: I love Dimitri Tiomkin's music, I love the score he wrote for Rio Bravo, I want to play a CD of it, I work with Warner Bros. to find master elements and secure rights, I come up with the money, I cross my fingers... and I remain patient. Should things work out, one day we'll all have that very album. (Ah, how I can dream!) And if things don't work out, I've got so many other scores I still want to see become available for everyone that I won't have time to be disappointed.
--Doug

_________________
Karl Morton IV

"Enjoy every sandwich."
-- Warren Zevon